A very different set than Teldec's Bach 2000. The Hanssler Bachakademie, supervised by Helmut Rilling, is not HIP (historic instruments performance). The orchestras are warm and lush (but not huge). The soloists are, in general, extraordinary. The tempos are sane. Hanssler has included fragments of some incomplete BWV's that are not included in the Teldec set; a minor plus but appealing. I found I preferred these traditional instruments and the daring using of forte-piano in place of harpsichord on a few of the recordings (flute sonatas). Highlights for me are The Well-Tempered Clavier Books 1 and 2, Musical Offering, Flute Sonatas, The Motets. I also found I prefer these Cantatas recordings to any other, including the new Koopman, Suzuki and the well-known Leonhart-Harnoncourt. While not the newest recordings, the sound is warmer which I prefer to the new state-of-the-art HIP recordings. Although most of the Cantatas are older recordings, much of the Hanssler Bachakademie edition is newly recorded for this project and the sound is consistent and excellent.
Very few conductors have recorded as much Bach as Karl Richter and none can lay a stronger claim to a legacy based on championing the master. Richter's reverence for Bach is evinced by the simplicity, splendor, and grandeur with which he consistently imbued his performances exemplified here by these landmark recordings of the Brandenburg Concertos and Orchestral Suites. In Archiv's original-image bit-processing remastered transfers as well, the sound is better than ever. This is cornerstone Bach that should not be missed.
In the '80s there were those listeners who thought that Heinrich Schiff might redeem cello performance practice from fatal beauty and lethal elegance. Aside from the burly and brawny Rostropovich, more and more cellists were advocating a performance style whose ideals were perfect intonation and graceful phrasing. In some repertoire, say, Fauré, these are perfectly legitimate goals. In other repertoire, Beethoven and Brahms, say, it is a terrible mistake. In Bach's Cello Suites, as the fay and fragile Yo-Yo Ma recordings make clear, it was a terminal mistake. Not so in Schiff's magnificently muscular 1984 recordings of the suites: Schiff's rhythms, his tempos, his tone, his intonation, and especially his interpretations were anything but fay or fragile. In Schiff's performance, Bach's Cello Suites are not the neurasthenic music of a composer supine with dread and despair in the dark midnight of the soul, but the forceful music of a mature composer in full control of himself and his music.
For this hybrid SACD of famous organ works by J.S. Bach, Masaaki Suzuki plays the restored Schnitger-Hinz organ in the Martinikerk (Martin's Church), in Groningen, one of the most celebrated instruments in the Netherlands and one which dates back to Bach's time. Its bright, Baroque sonorities and Suzuki's historically informed interpretations give these performances a compelling sense of authenticity and period style. The pieces are among Bach's greatest hits, particularly the Toccata and Fugue in D minor, which gives the program a decisive opening. Following that flashy demonstration, Suzuki is relaxed and almost contemplative in the Pastorale in F major, and continues his thoughtful readings in the Partita on "O Gott, du frommer Gott," the Prelude and Fugue in G minor, and the Canonic Variations on "Vom Himmel hoch da komm' ich her." Yet he includes two sparkling virtuoso performances in the Fantasia in G major and the Prelude and Fugue in E minor, which keep the album from being too soft and subdued. BIS' super audio sound is crisp and detailed, which is no mean feat in a church recording.
The late Nathan Milstein’s 1975 stereo remake (DG mid-price) was his own preferred version of these pillars of the violin repertoire with which he had been so associated since his youth in Odessa. But his (broadly faster) mid-Fifties New York account, now remastered and restored by EMI, was a famous yardstick of its time – a grandly phrased, aristocratically structured, Romantically resonant statement to treasure beside Menuhin and Heifetz. These are epic virtuoso performances justifying Milstein’s view that with this music the performer could ‘bask in the most glamorous light’. Stylistically, purists will object to their expressive liberty and gesture. But few will be able to resist their artistry or intensity of delivery.
Julian Bream is, without a doubt, one of the premiere classical guitarists of the modern recording era. Comparisons between great guitarists is often unfair and misleading as they each have their own styles - and each musician and his/her style tends to be particularly well suited to certain types of music. For example, Andres Segovia's style, cultivated by self-teaching throughout his now ended life, concentrated on flowing legatto smoothness and flowing melodies. Bream's, on the other hand, while equally masterful, is better characterized as emphasizing the precision and crispness of each and every individual note. What better composer to focus on to show this particular proclivity that J. S. Bach, whose work, having been written largely for the keyboards (harpsichord) but also for the lute and triple harp, tends to emphasize the kinds of music Bream excels at. Stacatto phrasings, each written to be played with crystalline exactness, are the types of pieces wherein Bream's magnificence is conspicuous and best showcased. Thus, the special relevance of this particular compilation of some of his best Bach work on this CD.
What you will find on this disc is A) contrapunctus I-IX played on two different organs in 1962; B) contrapunctus I II & IV from a1981 TV broadcast; C) contrapunctus IX XI & XIII in mono from a radio broadcast in 1967; D) the unfinished contrapunctus XIV from what may or may not be the same TV broadcast as B); and as a final filler E) a prelude and fugue on the name BACH from a studio recording in 1980. Items B)-E) are given on the piano.
András Schiff is one of the best Bach players among Gould, Rosalyn Tureck and Wanda Landowska. On Schiff's French Suites, every part from every suite has a different color and gives you different feeling. Every harmony is taken to its end with care, and dynamic balance is always delightful to listen. Articulation of the notes is excellent, full of humour, and in some places you surely start to smile and you feel very happy when you listen to Schiff. He also plays the slow parts very deeply and warmly, which is for some artists a big problem when playing Bach. There are also Italian Concerto and French Overture on the CD's, played brilliantly, so this set is really worth buying. Recommended for everyone.
Having all of these works collected together is a real treasure. It is one of the most beautiful collections I've heard. 5 cd's of all of Bach's chamber music, exquisitely performed by the outstanding soloists of Musica Antiqua Koln. Reinhard Goebel's performance of the violin works is simply perfect. As I've said before, Bach's sonatas for violin and harpsichord have been in the shadows for too long, they deserve to be heard and this performance proves it. They are a delightful partnership between violin and harpsichord. The tempos are fairly brisk but the performance is so clearly articulated that the result is energetic and very rewarding.
The title alone is enough to make the heart beat a little faster. It is not coincidental that many music lovers have just this work as a centre in their private musical universe, a piece they return to again and again, always to find something new. A set of variations which stretches the limits; old man Bach with the powers to make the variation-form a display of pure music. This release concludes Ketil Haugsand"s recordings of all Bach"s "Clavierübung" on harpsichord for Simax Classics. The two earlier releases became reference recordings over-night, and Goldberg really is the jewel of the crown. As always Haugsand"s interpretation is no scratching the surface, but taking you through to the deeper layers of this music in breathing and singing phrases, along the map drawn up by Bach.